January 6, 2011
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Nancy Sinatra, Sopranos Groupie! «Weird Celeb Blogpost 2011! - nancysinatra.com
My friend Steven Van Zandt
File under First Weird Celeb Blogpost 2011
"I’m wearing a gift from the Sopranos people."--Nancy Sinatra
Weird Celeb Blogpost 2011! Sopranos Groupie nancysinatra.com
Steven or Little Stevie is a good friend and great influence in my life so I thought I would dedicate my first entry to him. He was just on the Jimmy Fallon Show with Bruce Springsteen so he’s on my mind.
Here we are at a rehearsal hall in Los Angeles, I think. Stevie was coaching me as usual.
When a person with his experience and track record offers to help you you accept it gladly and without question.
This picture is from a night he practically dragged me to Clive Davis’s party. Stevie didn’t tell me why we had to get all dressed up and do the red carpet thing and all that but when we got to our table he introduced me to the Sirius Satellite Radio team. I should have known he had something up his sleeve or should I say under his bandana.
The next thing I knew I had a radio show!
Here we are at Sirius Satellite studios in New York.
This was taken a couple of years later. Those frames on the wall contain some of the logos of the channels on Sirius XM.
Stevie chatting with my brother Frank in Los Angeles.
Stevie and my drummer Clem Burke. We borrowed him from Blondie for a few years. I always used to tease him about his view of the stage, always looking at the back of a blonde.
At Patsy’s reading a set list, I think. Looks like we’re reading in Italian!
Here we are at Jilly’s with the wonderful Phoebe Snow. She was such a delightful person with a rather sad life. I miss her.
When I played the Bottom Line in New York Steven introduced me on stage. He didn’t have to do that, obviously, because people knew who was going to perform. He did it because he knew what would happen when he just casually sauntered out from the wings – the audience was thrilled as though he had done a ten minute warm-up. He said something like, “Her new album is called California Girl but she’s really a Jersey girl.” Very sweet.
As if that weren’t enough, he even brought Dominic Chianese (Junior Soprano) to one of the shows.
When Dom, with guitar stage left of the bass player, was appearing at a local club Steven took me to see him and they got me up on the stage for their rendition of Boots. It was a hoot. Al Pacino and some of the Sopranos wise guys were there too.
On one of my other trips to New York, Steven invited my daughter, AJ and me to visit the set of the Sopranos. We met so many great people including Michael Imperioli.
And a few months later guess what happened…
Yep, there we were on the set again but not visiting this time.
AJ and Tony Sirico aka Paulie Walnuts.
AJ and I perform with Southside Johnny and his band in this scene and look who’s coaching us…
A few pictures of the cast and crew.
In the background Jim Gandolfini is being interviewed as the series is about to come to a close. The beautiful sunshine girl, AJ, Steven and me on a break outside. It was a beautiful day.
My mentor and me.
A James sandwich.
A goodbye hug from one of the sweetest men I’ve ever met, James Gandolfini.
A few tears. Everybody on the set was aware of the fact that this brilliant series was winding down and the emotions were high as nobody wanted to see it end.
For me it was about three generations of my family being part of it, my father, my brother, my daughter and me. I honestly believe Stevie made David Chase and Brad Grey see how much that would mean to us.
This is my favorite picture of Steven and me. FRIENDS FOREVER.
A few weeks later there was a wrap party for the series and my cousin Michele and I went with Stevie and his gorgeous wife, Maureen. She is another person in my life who gives with the same generosity of spirit as her husband… but that’s another story… for a new page… 
Thank you, Steven for always being there for us. There is no way we will ever be able to repay you – not in a million years.
Oh! By the way, that fabulous jacket I’m wearing was a gift from the Sopranos wardrobe people.
Weird Celeb Blogpost 2011! Nancy Sinatra is Sopranos Groupie « Steven Van Zandt nancysinatra.com
http://whatgetsmehot.posterous.com/nancy-sinatra-sopranos-groupie-weird-celeb-bl My friend Steven Van ZandtFile under First Weird Celeb Blogpost 2011"I’m wearing a gift from the Sopranos people."--Nancy Sinatra Weird Celeb Blogpost 2011! Sopranos Groupie nancysinatra.com Steven or Little Stevie is a good friend and great influence in my life so I thought I woul ... Dogmeat
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Listening to Carl Perkins (and Jerry Lee) Nice Sturdy Post, Jimmy Guterman
Jimmy Guterman's Jewels and Binoculars
media, technology, management, and the rest of it
Listening to Carl Perkins
“They took a light from a honky-tonk/Put the gleam in your eye,” Carl Perkins howls on “Honky Tonk Gal,” one of his many amazing performances on The Classic Carl Perkins, a stellar five-CD boxed set that includes all his recordings for Sun Records and those shortly thereafter. (I just pulled out that box for the first time in many years.) With such a line, Perkins neatly encapsulates rockabilly’s concerns and fears.
Rockabilly, that reckless, primal thrash of honky-tonk country-and-western, is all about conflict—between rural and urban, between barroom adventure and home comfort, between the headfirst sin of Saturday nights and the heartfelt repentance of Sunday mornings. The honky-tonk gal Perkins adores is both his joy (she’s hot stuff and knows it) and his pain (she’s no longer a demure housewife). She’s the conflict of rockabilly personified.
Perkins treats this dilemma the way any self-respecting rockabilly cat would: He blazes out fiery riffs and drives through the quandary in fifth gear. He’ll deal with the consequences of his rampage tomorrow. Even lost in the thrill of taking his Gibson guitar for an unexpected joyride, he knows that somewhere down the road there will be a price to pay. Rockabilly is about release, but its release always has limits—that’s the form’s country birthright. That’s also what makes Perkins, a pure rockabilly performer then and always, different from Elvis Presley or Roy Orbison, rockabilly cats who expanded into straight pop and, in doing so, uprooted themselves. “You could never take the country out of Perkins,” veteran Sun-reissue compiler Colin Escott wrote in one of his many expert liner-note essays, pinpointing what set Perkins apart from Presley and what prevented him from achieving Elvis-like success. Presley, for all his indisputable greatness, sold out for pop success in every way imaginable. Perkins, even in his most banal countrypolitan settings, never surrendered.
This massive set has no fluff. Perkins’s gracious, quavering tenor carries some magnificent country ballads; among the most noteworthy are “Turn Around,” his first professional recording, and “Let the Jukebox Keep on Playing,” the most understated expression of honky-tonk regret and paralysis in post-Hank Williams country music. But Perkins’s meat is his rockabilly, “Blue Suede Shoes” and all that, in which he repeatedly drives full speed to the edge of his world, leans over the cliff to enjoy the view for a brief second, and then, as he knows he must, pulls back and carefully heads home.
“Rockabilly sure takes me over the edge,” top Stray Cat Brian Setzer countered when I threw that idea at him a long time ago, in suburban Massachusetts. “It’s the most menacing music. Heavy metal is kid’s stuff compared to it.” Yes, but Setzer and the many legions who adopted pompadours in the late seventies discovered the music and the accoutrements, not the culture. It’s no accident that most of the rockabilly revivalists came from northern urban areas. To them, rockabilly is Gene Vincent’s leer and Eddie Cochran’s shake without regard for the honky-tonk imperatives behind them. The Stray Cats, since reduced to beer commercials, can afford to shoot over the edge; Perkins and his contemporaries, who didn’t have the luxury of growing up in a society that had already been liberated by rock and roll, had no such romantic alternative.
Yet on “Dixie Fried,” his greatest uptempo composition, Perkins comes as close as any rockabilly performer to going over the edge and living to tell about it. His guitar flashes like the barroom-fight switchblades his tale chronicles; his voice dances with the wobbly exuberance of his brazen, drunken protagonist. “Let’s all get Dixie fried!” he screams, shattering any pretensions to caution, or civilized behavior. The violence escalates and the song smashes to its head-on conclusion, not with the law, but with the inevitable. Perkins may have the gleam of the honky-tonk in his eye, but his eye is fixed on home, where he prays his honky-tonk gal has returned.
http://whatgetsmehot.posterous.com/listening-to-carl-perkins-and-jerry-lee-nice Jimmy Guterman's Jewels and Binoculars media, technology, management, and the rest of it Listening to Carl Perkins with 2 comments “They took a light from a honky-tonk/Put the gleam in your eye,” Carl Perkins howls on “Honky Tonk Gal,” one of his many amazing performances on The Cla ... Dogmeat
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